Microphones - What we have and What they do

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SM58 vs Beta 58A and Radio Mic Basics

Handheld dynamic microphones are the backbone of live vocals. They’re tough, reliable, and forgiving in real-world gig conditions.

SM58
The industry standard. Warm, familiar sounding and extremely robust. Very forgiving of poor mic technique, making it ideal for most singers and busy stages. Slightly less bright than newer designs but hard to beat for reliability.

Beta 58A
A more focused, detailed upgrade. Brighter top end and better vocal clarity, helping vocals cut through loud mixes. Best suited to experienced performers, as it’s less forgiving of positioning and monitor placement.

Radio (Wireless) Mics
Great for freedom of movement and clean stages, but add complexity. They require careful frequency management, rely on batteries, and can be affected by interference. Sound quality is good, but a wired mic is often more reliable.

In short:
SM58 = safe and dependable
Beta 58A = clearer and punchier
Radio mics = freedom, with added risk

Dynamic instrument microphones are designed to handle high sound pressure levels while delivering focused, controlled sound on loud stages. They’re reliable, durable, and ideal for close-mic’ing drums, guitar amps, and brass.

Sennheiser e904
A compact, clip-on workhorse commonly used on toms and snares. It delivers a tight, punchy sound with excellent rejection of spill, making it ideal for busy drum kits and fast changeovers.

Sennheiser e906
A flat-front dynamic mic designed for guitar cabinets. It handles high volume with ease and offers clear midrange detail, making it easy to position directly in front of amps without stands getting in the way.

Audix D6
Purpose-built for kick drum and low-frequency sources. The D6 delivers a powerful, pre-shaped sound with deep lows and sharp attack, often requiring minimal EQ to sit well in a mix.

Shure Beta 57A
A versatile instrument mic suited to snare, guitar amps, and brass. It offers a focused pickup pattern and enhanced clarity compared to a standard SM57, helping instruments cut through dense mixes.

In short:
e904 = tight and practical for drums such as Toms
e906 = clean and controlled for guitar amps
D6 = big, modern kick drum sound
Beta 57A = versatile and punchy can be used on most instruments and vocals 

Instrument condenser microphones are all about clarity, speed, and detail. Where dynamic microphones excel at handling high sound pressure and rough-and-ready stages, condensers shine when you want to capture the character of an instrument, the attack of a stick, the shimmer of cymbals, or the depth of a room.

In our setups, condenser mics are used selectively and intentionally, placed where detail makes the biggest difference to the overall mix.

For snare drum duties, the Shure Beta 181 offers fast transient response and excellent off-axis rejection, making it ideal for capturing crisp snare attack without excessive spill. Inside the kick drum, the Shure Beta 91A delivers a tight, modern low-end with plenty of definition, helping the kick sit clearly in the mix without sounding muddy.

Overhead and cymbal duties are handled by Aston Origins, which provide a natural, open top end that captures cymbal detail without harshness. For hi-hats or ambient duties, Lewitt LCT 040 microphones are used to add brightness, air, and space, whether that’s subtle hi-hat definition or controlled room ambience.

The result is a drum sound that feels clear, punchy, and three-dimensional, translating well across venues of all sizes. By combining the right condenser microphones with careful placement and experienced engineering, we ensure every performance sounds balanced, musical, and true to the band on stage.

A DI (Direct Injection) box is used to take the output from an instrument or playback device and convert it into a balanced, low-noise signal that can travel long cable runs to the mixing desk without interference, hum, or loss of tone.

They are essential when working with instruments such as bass guitars, acoustic guitars with pickups, keyboards, synths, drum machines, laptops, and DJ equipment. These sources typically produce an unbalanced signal that isn’t designed to run directly into a professional PA system.

By using high-quality DI boxes, we ensure the signal arriving at the desk is clean, consistent, and correctly matched for the sound system. This results in better clarity, improved low-end control, and far fewer noise issues such as buzzes or ground hums.

DI boxes also allow us to split signals safely, feeding one output to the PA system while sending another to an on-stage amplifier, giving performers the sound and feel they expect while maintaining full control at front of house.

In short, DI boxes are a small but critical part of the signal chain, helping us deliver a clearer mix, greater reliability, and a more professional sound for every performance.